Further Reading: Secondary Sources


Anglo, Sydney. “The Barriers: From Combat to Dance (Almost).” Dance Research 25, no. 2 (2007): 91-106. https://doi.org/10.3366/drs.2007.25.2.91.

Arcangeli, Alessandro. Recreation in the Renaissance. New York: Palgrave Macmillan, 2003.

_____. “Dance under Trial: The Moral Debate 1200-1600.” Dance Research 12, no. 2 (1994): 127-155.

Barish, Jonas. The Antitheatrical Prejudice. Berkeley, CA: University of California Press, 1981.

Barlow, Jeremy. A Dance through Time: Images of Western Social Dancing from the Middle Ages to Modern Times. Oxford: Bodleian Library, 2012.

Baskervill, Charles Read. The Elizabethan Jig and Related Song Drama. New York: Dover Publications, 1929, 1965.

Belsey, Catherine. Shakespeare and the Loss of Eden: The Construction of Family Values in Early Modern Culture. Basingstoke: Palgrave Macmillan, 1999.

Béhar, Pierre, and Helen Watanabe O’Kelly, eds. Spectaculum Europaeum: Theatre and Spectacle in Europe. Wiesbaden: Harrassowitz, 1999.

Borys, P. A. M. “Historical Changes in Morris Costume and Sponsorship.” American Morris Newsletter 14, no. 3 (1990): 7-15.

Brooks, Lynn Matluck. The Art of Dancing in Seventeenth-Century Spain: Juan de Esquivel Navarro and His World. London: Associated University Presses, 2003.

_____, ed. Women’s Work: Making Dance in Europe Before 1800. Studies in Dance History. Madison, WI: University of Wisconsin Press, 2008.

Brown, Sarah, Robert Lublin, and Lynsey McCulloch, eds. Reinventing the Renaissance: Shakespeare and his Contemporaries in Adaptation and Performance. New York: Palgrave MacMillan, 2013.

Bryson, Anna. “The Rhetoric of Status: Gesture, Demeanour and the Image of the Gentleman in Sixteenth- and Seventeenth-Century England.” In Renaissance Bodies: The Human Figure in English Culture c. 1540-1660, edited by Lucy Gent and Nigel Llewellyn, pp. 136-153. London: Reaktion Books, 1990, 1995.

Burke, Peter. The Fortunes of the Courtier: The European Reception of Castiglione’s Cortegiano. University Park, PA: Pennsylvania State University Press, 1996.

Butler, Martin. Theatre and Crisis, 1632-1640. Cambridge: Cambridge University Press, 1984.

Canova-Green, Marie-Claude. “From Tragicomedy to Epic: The Court Ballets of Desmarets de Saint-Sorlin.” Dance Research 25, no. 2 (2007): 156-166. https://doi.org/10.3366/drs.2007.25.2.156.

Chambers, E. K. The Elizabethan Stage. 4 vols. Oxford: Clarendon Press, 1923.

Chappell, William. Popular Music of the Olden Time: A Collection of Ancient Songs, Ballads, and Dance Tunes Illustrative of the National Music of England. 2 vols. London, 1859.

Clement, Jennifer. “Beyond Shakespeare: early modern adaptation studies and its potential.” Literature Compass 10.9 (2013): 677-687.

Clive, H. P. “The Calvinists and the Question of Dancing in the 16th Century.” Bibliothèque d’Humanisme et Renaissance 23, no. 2 (1961): 296-323.

Coffey, John, and Paul C. H. Lim, eds. The Cambridge Companion to Puritanism. Cambridge: Cambridge University Press, 2008.

Cohen, Selma Jeanne, ed. International Encyclopedia of Dance: A Project of Dance Perspectives Foundation, Inc. 6 vols. New York: Oxford University Press, 1998.

Corrsin, Stephen D. Sword Dancing in Europe: A History. Enfield Lock, Middlesex: Hisarlik Press, 1997.

Crisp, Clement. “Into the Labyrinth: Kenneth MacMillan and his Ballets.” Dance Research 25, no. 2 (2007): 188-195. https://doi.org/10.3366/drs.2007.25.2.188.

Cross, Gary. A Social History of Leisure Since 1600. State College, PA: Venture Publishing, Inc., 1990.

Cunningham, James. Dancing in the Inns of Court. London: Jordan & Sons, Ltd., 1965.

Daye, Anne. “The Banqueting House, Whitehall: a site specific to dance.” Historical Dance https://historicaldance.org.uk/jnl/pdf/HistDance4n1p03.pdf4, no. 1 (2004): 3-22. .

_____. “Ben Jonson: Choreographer of the Antimasque.” In Proceedings of the 22nd Society of Dance History Scholars Annual Conference (10-13 June 1999), compiled by Juliette Willis, 185-193. Riverside, CA: Society of Dance History Scholars, 1999.

_____. “The Jacobean Antimasque within the Masque Context: a Dance Perspective.” PhD diss., Roehampton University, 2008.

_____. “‘The power of his commanding trident’: Tethys Festival as royal policy.” Historical Dance 4, no. 2 (2012): 19-28. https://historicaldance.org.uk/jnl/pdf/HistDance-2012-V4N2-pp19-28-Daye.pdf.

_____. “The Role of Le Balet Comique in Forging the Stuart Masque: Part 1 The Jacobean Initiative.” Dance Research 32, no. 2 (2014): 185-207.

_____. “The Role of Le Balet Comique in Forging the Stuart Masque: Part 2 Continuation.” Dance Research 33, no. 1 (2015): 50-69.

_____. “Torchbearers in the English masque.” Early Music 26, no. 2 (May 1998): 246-262.

_____. “‘Youthful Revels, Masks, and Courtly Sights’: An introductory study of the revels within the Stuart masque.” Historical Dance 3, no. 4 (1996): 5-22.

Dean-Smith, Margaret, and E. J. Nicol. “‘The Dancing Master’: 1651-1728: Part II. Country Dance and Revelry before 1651.” Journal of the English Folk Dance and Song Society 4, no. 5 (1944): 167-179.

Dennison, James T. The Market Day of the Soul: The Puritan Doctrine of the Sabbath in England, 1532-1700. Lanham, MD: University Press of America, 1983.

Dessen, Alan, and Leslie Thomson. A Dictionary of Stage Directions in English Drama, 1580-1642. Cambridge: Cambridge University Press, 1999.

Dolmetsch Historical Dance Society. Tudors and Stuarts: Dances of Court and Country from the time of Elizabeth I and James I. 2nd ed. Berkhamsted, Hertfordshire: DHDS Publications, 2007.

Dolmetsch, Mabel. Dances of England and France from 1450 to 1600: With their Music and Authentic Manner of Performance. New York: De Capo Press, 1949, 1975.

Durham, Janelle, and Peter Durham. “Dances from the Inns of Court.” Printed privately, 1997.

Ewbank, Inga-Stina. “‘The Eloquence of Masques’: A Retrospective View of Masque Criticism.” In Renaissance Drama: Essays Principally on Masques and Entertainments, edited by Samuel Schoenbaum, pp. 307-327. Evanston, IL:  Northwestern University Press, 1968.

Fallows, David. “The Gresley Dance Collection, c.1500.” Royal Musical Association Research Chronicle 29 (1996): 1-20.

Finkelpearl, Philip. John Marston of the Middle Temple: An Elizabethan Dramatist in His Social Setting. Cambridge, MA: Harvard University Press, 1969.

Fiorato, Sidia, and John Drakakis, eds. Performing the Renaissance Body: Essays on Drama, Law, and Representation. Berlin: DeGruyter, 2016. Includes “Introduction: Performances, Regulations and Negotiations of the Renaissance Body. Legal and Social Perspectives,” pp. 1-26, and “The Performance of the Queen Consort’s Sovereignty: Queen Anna of Denmark,” pp. 247-272.

Forrest, John. The History of Morris Dancing, 1458-1750. Toronto: University of Toronto Press, 1999.

Franko, Mark. Dance as Text: Ideologies of the Baroque Body. Cambridge: Cambridge University Press, 1993.

_____. The Dancing Body in Renaissance Choreography, c. 1416-1589. Birmingham, AL: Summa Publications, 1986.

_____. “Fragment of the Sovereign as Hermaphrodite: Time, History, and the Exception in Le Ballet de Madame.” Dance Research 25, no. 2 (2007): 119-133. https://doi.org/10.3366/drs.2007.25.2.119.

Goring, Jeremy. Godly Exercises or the Devil’s Dance? Puritanism and Popular Culture in Pre-Civil War England. London: Dr. William’s Trust, 1983.

Gossett, Suzanne “‘Man-maid, begone!’: Women in Masques.” English Literary Renaissance 18, no. 1 (1988): 96-113.

Goellner, Ellen W., and Jacqueline Shea Murphy, eds. Bodies of the Text: Dance as Theory, Literature as Dance. New Brunswick: Rutgers University Press, 1995.

Hirsch, Brett D. “Hornpipes and Disordered Dancing in The Late Lancashire Witches: A Reel Crux?” Early Theatre 16, no. 1 (2013): 139-149.

Hiscock, Andrew.  “‘Come, now a roundel and a fairy song’: Shakespeare’s A Midsummer Night’s Dream and the early modern invitation to the dance.” Cahiers Elisabéthains 97.1 (2018), 39-68.

Holman, Peter. Four and Twenty Fiddlers: The Violin at the English Court, 1540-1690. Oxford: Clarendon Press, 1993.

Howard, Jean Elizabeth. “Dancing Masters and the Production of Cosmopolitan Bodies in Caroline Town Comedy.” In Localizing Caroline Drama: Politics and Economics of the Early Modern Stage, 1625-1642, edited by Alan Farmer and Adam Zucker, pp. 183-211. New York: Palgrave Macmillan, 2006.

Howard, Skiles. “‘Ascending the Riche Mount’: Performing Hierarchy and Gender in the Henrician Masque.” In Rethinking the Henrician Era: Essays on Early Tudor Texts and Contexts, edited by Peter C. Herman, pp. 16-39. Urbana, IL: University of Illinois Press, 1994.

Hudler, Melissa. “Dance: The Speaking Body in Jonson’s ‘Pleasure Reconciled to Virtue.’” Ben Jonson Journal 14.2 (2007): 173-91.

_______. “Rapt with sweet pleasure”: The Rhetoric of Dance in Sir John Davies’ Orchestra or A Poem of Dancing. Ben Jonson Journal 25.1 (2018). Forthcoming.

_______.  Review of Renaissance Figures of Speech. Ed. Sylvia Adamson, Gavin Alexander, and Katrin Ettenhuber. Early Modern Literary Studies 15.1 (2009).

_______.  Review of Science, Literature, and Rhetoric in Early Modern England. Ed. Juliet Cummins and David Burchell. Renaissance Studies 23.3 (2009): 392-94.

_______. “The Body Speaks of Sin: The Voice of Dance in the Middle Ages.” Interdisciplinary Humanities 21.1 (2004): 20-29.

Hutton, Ronald. The Rise and Fall of Merry England: The Ritual Year, 1400-1700. Oxford: Oxford University Press, 1994.

_____. The Stations of the Sun: A History of the Ritual Year in Britain. Oxford: Oxford University Press, 1996.

Jensen, Phebe. Religion and Revelry in Shakespeare’s Festive World. Cambridge: Cambridge University Press, 2008.

Johnston, Alexandra, and Wim N. M. Hüsken, eds. English Parish Drama. Amsterdam: Rodopi, 1996.

le Huray, Peter. Music and the Reformation in England, 1549-1660. Cambridge: Cambridge University Press, 1967.

Hutcheon, Linda. A Theory of Adaptation. Abingdon: Routledge, 2006.

Kidnie, Margaret Jane. Shakespeare and the Problem of Adaptation. Abingdon: Routledge, 2009.

Lin, Erika T. “A Witch in the Morris: Hobbyhorse Tricks and Early Modern Erotic Transformations.” In The Oxford Handbook of Dance and Theater, edited by Nadine George-Graves (Oxford: Oxford University Press, 2015), 335-361.

Major, John  M. “The Moralization of the Dance in Elyot’s Governour.” Studies in the Renaissance 5 (1958): 27-36.

Marcus, Leah. The Politics of Mirth: Jonson, Herrick, Milton, Marvell, and the Defense of Old Holiday Pastimes. Chicago: University of Chicago Press, 1986.

Marsh, Christopher. Music and Society in Early Modern England. Cambridge: Cambridge University Press, 2010.

McGee, Timothy J., ed., Improvisation in the Arts of the Middle Ages and Renaissance. Early Drama, Art, and Music Monograph Series 30. Kalamazoo, MI: Medieval Institute Publications, Western Michigan University, 2003.

  • Kendall, G. Yvonne. “Ornamentation and Improvisation in Sixteenth-Century Dance.”
  • Nevile, Jennifer. “Disorder in Order: Improvisation in Italian Choreographed Dances of the Fifteenth and Sixteenth Centuries.”
  • Sparti, Barbara. “Improvisation and Embellishment in Popular and Art Dances in Fifteenth- & Sixteenth-Century Italy.”

McGinnis, Katherine Tucker. “‘Face Time—Mask Time’: The Merging and Diverging of Public and Private Space in Sixteenth-Century Dance Practices.” In Virtute et arte del danzare: Contributi di storia della danza in onore di Barbara Sparti, edited by Alessandro Pomtremoli, pp. 83-97. Rome: ARACNE editrice, 2011.

McGowan, Margaret M. Dance in the Renaissance: European Fashion, French Obsession. New Haven: Yale University Press, 2008.

McManus, Clare. Women on the Renaissance Stage: Anna of Denmark and Female Masquing in the Stuart Court, 1590-1619. Manchester: Manchester University Press, 2002.

Meagher, John C. “The Dance and the Masques of Ben Jonson.” Journal of the Warburg and Courtauld Institutes 25 (1962): 258-277.

Mullally, Robert. “More about the Measures.” Early Music 22, no. 2 (1994): 414-438.

_____. “Measure as a Choreographic Term in the Stuart Masque.” Dance Research 16, no. 1 (Summer 1998): 67-73.

Naylor, Edward W. Shakespeare and Music, with Illustrations from the Music of the 16th and 17th Centuries. London: J. M. Dent & Co., 1896.

Nevile, Jennifer. “Choreography and Meaning in Renaissance Danced Spectacles: A Catalyst for Discussion.” Historical Dance 4, no. 2 (2012): 29-33. https://historicaldance.org.uk/jnl/pdf/HistDance-2012-V4N2-pp29-33-Nevile.pdf.

_____. “Dance in Early Tudor England: An Italian Connection?” Early Music 26, no. 2 (1998): 230-234, 237-242, 244.

_____. The Eloquent Body: Dance and Humanist Culture in Fifteenth-Century Italy. Bloomington: Indiana University Press, 2004.

_____. “‘Rules for Design’: Beauty and Grace in Caroso’s Choreographies.” Dance Research 25, no. 2 (2007): 107-118. https://doi.org/10.3366/drs.2007.25.2.107.

_____, ed., Dance, Spectacle, and the Body Politick, 1250-1750. Bloomington, IN: Indiana University Press, 2008.

Oh, Elisa. “‘In Motion Swift and Even’: Perpetual Motion and Othering in Ben Jonson’s The Masque of Blackness and The Masque of Beauty.” Upstart: A Journal of English Renaissance Studies, December 8, 2014. http://www.clemson.edu/upstart/Essays/oh_motion/oh_motion.xhtml.
Orgel, Stephen. The Illusion of Power: Political Theater in the English Renaissance. Berkeley, CA: University of California Press, 1975.

_____. The Jonsonian Masque. Cambridge, MA: Harvard University Press, 1967.

Ortiz, Joseph M. Broken Harmony: Shakespeare and the Politics of Music. Ithaca: Cornell University Press, 2011.

Parry, Caroline Balderston. “‘The Maypole is up, now give me the cup…’.” REED Newsletter 11, no. 1 (1986): 7-9.

Payne, Ian. The Almain in Britain, c.1549-c.1675: A Dance Manual from Manuscript Sources. Aldershot, Hampshire: Ashgate, 2003.

Pennino- Baskerville, Mary. “Terpsichore Reviled: Antidance Tracts in Elizabethan England.” Sixteenth Century Journal 22, no. 3 (1991): 475-494.

Pfandl-Buchegger, Ingrid and Gudrun Rottensteiner. “Metareferentiality in early dance: the Jacobean antimasque.” Metareference across Media: Theory and Case Studies, edited by Werner Wolf, pp. 469-498. Amsterdam: Rodopi, 2009.

Pollard, Tanya. Shakespeare’s Theater: A Sourcebook. Oxford: Blackwell Publishing, 2003.

Pugliese, Patri J. “Why Not Dolmetsch?” Dance Research 13, no. 2 (1981): 21-24.

_____, and Joseph Casazza. “Practise for Dauncinge,” 1980, 1999. http://mysite.verizon.net/vzeryeh4/dance/Practise%20for%20Dauncinge.html.

Ravelhofer, Barbara. “Burlesque Ballet, a Ballad and a Banquet in Ben Jonson’s The Gypsies Metamorphos’d (1621).” Dance Research 25, no. 2 (2007): 144-155. https://doi.org/10.3366/drs.2007.25.2.144.

_____. The Early Stuart Masque: Dance, Costume, and Music. Oxford: Oxford University Press, 2006.

_____. “Queen Henrietta Maria’s Dramatic Activities.” In Heroines of the Golden Stage: Women and Drama in Spain and England, 1500-1700, edited by Rina Walthau and Marguérite Corporaal, pp. 129-142. Kassel: Reichenberger, 2007.

_____. “‘Virgin Wax’ and ‘Hairy Men-Monsters’: Unstable Movement Codes in the Stuart Masque.” In The Politics of the Stuart Court Masque, edited by David Bevington and Peter Holbrook, pp. 244-272. Cambridge: Cambridge University Press, 1998.

Rebhorn, Wayne A. Courtly Performances: Masking and Festivity in Castiglione’s Book of the Courtier. Detroit: Wayne State University Press, 1978.

Scolieri, Paul A. Dancing the New World: Aztecs, Spaniards, and the Choreography of Conquest. Austin: University of Texas Press, 2013.

Semenza, Gregory M. Colón. Sport, Politics, and Literature in the English Renaissance. Newark, DE: University of Delaware Press, 2003.

Shewring, Margaret, and J. R. Mulryne. “Dancing Towards Death: Masques and Entertainments in London and Florence as precedents for Thomas Middleton’s Women Beware Women.” Dance Research 25, no. 2 (2007): 134-143. https://doi.org/10.3366/drs.2007.25.2.134.

Smith, Judy. “The Art of Good Dancing—Noble Birth and Skilled Nonchalance. England 1580-1630.” Historical Dance 2, no. 5 (1986/7): 30-32.

_____, and Ian Gatiss. “What Did Prince Henry Do with His Feet on Sunday 19 August 1604?” Early Music 14, no. 2 (1986): 198-207.

Sparti, Barbara. “Antiquity as Inspiration in the Renaissance of Dance: The Classical Connection and Fifteenth-Century Italian Dance.” Dance Chronicle 16, no. 3 (1993): 373-390.

Stokes, James, and Ingrid Brainard. “‘The olde Measures’ in the West Country: John Willoughby’s manuscript.” Records of Early English Drama Newsletter 17, no. 2 (1992): 1-10.

Todd, Margo. “Profane Pastimes and the Reformed Community: The Persistence of Popular Festivities in Early Modern Scotland.” The Journal of British Studies 39, no. 2 (2000): 123-156.

Underdown, David. “‘But the Shows of their Street’: Civic Pageantry and Charivari in a Somerset Town, 1607.” Journal of British Studies 50, no. 1 (2011): 4-23.

_____. Revel, Riot, and Rebellion: Popular Politics and Culture in England 1603-1660. Oxford: Clarendon Press, 1985.

Wagner, Ann. Adversaries of Dance: From the Puritans to the Present. Urbana, IL: University of Illinois Press, 1997.

Walls, Peter. Music in the English Courtly Masque 1604-1640. Oxford: Clarendon Press, 1996.

Ward, John. “Apropos ‘The olde Measures.’” Records of Early English Drama Newsletter 18, no. 1 (1993): 2-21.

_____. “The Manner of Dauncying.” Early Music 4 (1976): 127-142.

_____. “Newly Devis’d Measures for Jacobean Masques.” Acta Musicologica 60, no. 2 (1988): 111-142.

Welsford, Enid. The Court Masque: A Study in the Relationship between Poetry & the Revels. Cambridge: Russell & Russell, 1962.

Whitlock, Keith. “John Playford’s the English Dancing Master 1650/51 as Cultural Politics.” Folk Music Journal 7, no. 5 (1999): 548-578.

Wienpahl, Robert. Music at the Inns of Court during the Reigns of Elizabeth, James, and Charles. Ann Arbor, MI: University Microfilms International for the Department of Music, California State University, Northridge, 1979.

Wilson, David R. “Dancing in the Inns of Court.” Historical Dance 2, no. 5 (1986-1987): 3-16.

_____. “The Old Measures and the Inns of Court: A Note.” Historical Dance 3, no. 3 (1994): 24.

Winerock, Emily F. “Churchyard capers: the controversial use of church space for dancing in early modern England.” In The Sacralization of Space and Behavior in the Early Modern World: Studies and Sources, edited by Jennifer Mara DeSilva, pp. 233-256. Farnham: Ashgate, 2015.

_____. “‘Performing’ Gender and Status on the Dance Floor in Early Modern England.” In Worth and Repute: Valuing Gender in Late Medieval and Early Modern Europe (Essays in Honour of Barbara Todd), edited by Kim Kippen and Lori Woods, pp. 449-472. Toronto: Centre for Reformation and Renaissance Studies, 2011.

_____. “Reformation and Revelry: The Practices and Politics of Dancing in Early Modern England, c.1550-c.1640.“ PhD diss., University of Toronto, 2012.

Wood, Melusine. “Some Notes on the English Country Dance before Playford.” Journal of the English Folk Dance and Song Society 3, no. 2 (1937): 93-99.

Wooding, Barbara. John Lowin and the English Theatre, 1603–1647: Acting and Cultural Politics on the Jacobean and Caroline Stage. Farnham: Ashgate, 2013.